DOWN BEAT JAZZ OFF THE RECORD—NEWS Chicago, March 9, 1951

Russell Shows Improvement PeeWee I Jazz Off The Record Improving By BILL RUSSO aad LLOYD LIFTON San Francisco—PeeWee Russell (¥1« Davis’ oolo on Israel is tbe 13th in Down Beat’* Jau off the was operated on by doctors at Record tenet ) Franklin hospital on Jan. 29 and Chicago—Many readers hate asked for back copies of Jam at presstunc was reported “much improved.” off the Record. Previous tMue> of Down Beat containing The ailing clarinetist was moved these columns may be obtained through the main offices of from the S.F. County hospital aa this magazine. Send in 25 cents for each copy to Circulation a result of the fund raising efforts Depu, Down Beat, 203 N. Wabaah^—;------;------~ of local musicians and the big avenue, Chicago 1. III. Following is this solo however, are rather benefit at the Hangover club. a complete list of Jan off the Rec- short- Mlles achieves considerable Suffering from a multiple-cypt •rW columns. Be sure to include continuity despite this fact, on the abdomen and other possible the date oL the issue when ratuest« The longest phrsse jn the solo troubles, PeeWee is still very weak ing barb copie«. begins at the end of bar 12 and and not out of the critical phase Lester Young—Just You. Just extends to the beginning of bar yet. The operation apparently dis­ Jan. 13, 1950; Charlie Chris­ 15. Here Miles plays the highest closed his suspected cirrhosis of tian—Pre Found a New Baby— note of the entire 24 bars: the Bb the liver was not present, but testa Feb. 10, 1950; Charlie Parker— in bar 14 which is the flatted 6th were still being conducted to acer- Groovin' High — March 10, 1950; against the Dmi chord. This tain the extent of his illness und Charlie Parker—Relaxin’ at Cam­ phrase is a good example of Miles’ possible complications. arillo—April 7, 1950. simple and lyrical approach. It is Meanwhile Doc Dougherty Roy Eldridge—Body and Soul— interesting to note how the lyrical seemed headed for a little hassel June 2, 1950; Lester Young— quality of these bars is enhanced with the department of internal Dickie’s Dream—July 28, 1950; by the introduction of a moving revenue, which has taken a cold Charlie Christian—Rose Room— background. view of the benefit. A department Aug. 25, 1950; Stan Getz—Early Similar linage spokesman has told Doc that he’ll Autumn—Sept. 22, 1950. have to pay the tax on the night’s In two corresponding places in take exactly as if he was in busi­ Miles Davis—Godchild—Oct. 20, this solo—bars 9 and 21—Miles 1950; Zoot Sims—Four Brothers— ness, regardless of the benefit. This plays a lowered ninth to a raised rather narrow view may cost Doe Nov. 17, 1950; Herbie Steward— ninth. We noted the similar use of Four Brothers—Dec. 15, 1950; (rkoto rourtavv at th« Saw Fraaelraa Ckraaiela) a bit of cash for his generosity. these alterations in his solo on San Francisco—Charles (Pee Wee) Russell, famed jazz clarinetist, Naturally he’s seeing his lawyer. Stan Getz—Four Brothers—Feb. Godchild (Jazz off the Record, Oct. 9, 1951. is shown above as he lay in County hospital here a month go. Seri­ Incidentally, it looks at this 20, 1950). ously ill of an abdominal ailment, Russell has been given a fighting point as though PeeWee, if he re­ Our next Jazz off the Record In reply to many requests for chance to recover. Since this photo was taken, he has been removed covers, will need another benefit soloist will be Kai Winding, the to get some gold together. Since more of Miles Davis’ work, we are first trombonist to appear in these to the Franklin hospital, though still on the critical list. presenting his solo on Israel. This he’s acquired a trust fund and columns. We will transcribe and benefactors, the good old medicine solo, which is printed below, ap­ analyze his solo on Waterworks. pears on a Capitol record of Miles’ men have taken a good bite out of now-famous nine-piece group. It the loot the benefit raised. was recorded on April 21, 1949. Israel, composed by Johnny Car- Things To Come Wini* Nelaoe. Calvi« Sirfeklaud, and Irwi Ravalli troaabonaa—Slava Pulliam, Dneald isi, is essentially a minor to major Key To Solo Cole, and Jullua Wataoni aaaea Harald adaptation of the blues. Miles’ These are recently-cut records and their personnels. Minerva, Alphoara Roktaraa, David Van ■olo consists of two 12-bar chorus- To play with record: Down D.ka. Purvl« Henaoa, and Ted Caayerei Trumpet play as is. Though not all jazz sides, many may be of interest to rhylbia—Buddy Johnaau. plane I Clarinet and tenor saxophone Beat readers because of some of the sidemen in the groups. Spann, base, and Emanual Slmma^ drum Great Improvement Vocal« by Ella Jahaaoa aad Arthur Pry- play as is. Do not ask your dealer for them until you see by the Beat A great improvement may be Alto und baritone saxophone« record review section that they arr^------r*a< WiU I TM Haart ft Stomp noted in comparing this record transpose up a perfect fifth. available. MeGarityi reeds Wealher. end At Utt. with some of Miles’ earlier work. Trombone Irnnspose down a STAN CETZ* QUARTET (Roast, Gershmaa, Drelliogar, Eddi« METRONOME ALL-STARS (Capitol, 1/ This improvement is best illus­ major ninth. IZ/ia/SOJ. Su« Gau, tenor, Horace Siver, “row"' • 34/S1I. Mlle. Davla, trampet l Kel Windln«, trated by the bigger sound, better Concert pitch instruments trombone) John LePorta, alariaotl Lea Ko- articulation, and general definition nlt«, allot Slaa Cota, tenor| Sorgo Chelod. transpose down a major second baritone i Eddie SefransU, bamt CeeiRa he demonstrates. or down a major ninth. Sheartag. pieaai Billy Bauer, gnller, nod One of the most important in­ M.M J = 184 Moa Roark, drama. tegrative factors in today’s non-1 rRURJNWFRANE. SINATRAanimivi wi«n AXELviviw STÖR- LLL 0 T LAWRENCE'S ORCHESTRA TV’VLT (by Ralph Burna! and an un- Records available: Capitol 57- DAHL'S ORCHESTRA (Colombia, 1/16/51 >. (Dmm, 1/ZZ/S1I. Trampel. — Johnny titled Hum by Conran Shaartag. repetitive jazz is the use of long 60011 Trompeto- Mickey MeMiekle, Johoy Owen«, Dee, J phrases. Most of the phrases in > GEORCIE AULD'S COMBO (Rooel, 1/S6/ Ollie WilsoB, Eerl Swope, and Rob Swop«; SI J. Georgia Auld, rnedat Frank RoaoUne, •«>«»■ -Herbi« Steward, Stan Weiea, Buddy taombonot Lou Lovy, plane, Mal Bennett, Savitt, Mike Goldberg and Merle Brodwelli bam, and Tiny Kahn, druam. rhythm*^Elliot Lawrenee, piano । Mert Air Mall Spoeiall So*, So*l The Thiago Ra Did tail Suavaar/ Ka My laaat Oat af Botakarai Tagt HiUari dutama In Bata Miles Davis' Solo On Israel lark, nd Whafa Barat

RALPH FLANAGAN’S ORCHESTRA (Vie­ JACK LEONARD with TOMMY DOR. ler, 1/1S/S1, la Hollywood). Trampele— ORCHESTRA 1/S4/51). Herold Folat, Rady Saagldi, aad Knobby Loot tromboau. Phil Ciarobbe, Dove Pit­ Tony Picelo tt«( Johnny Amarono. and man. Ralph Joaopb. nd BUI Lagan | um Charlie Sbaverei trombo nee—-Nicky DiMaio. —Bill Hita, Moe Koffman, Stove Benovio, Eddie Dicke, nd lav Hafter i rhythm -Pete Hyml« Scher tear, Hal imma, Bab« (7), piaaot Bill Cronk, bum. and Sid Sol Schlinger $ Bulkin, drama. V orale by Harry Priam. I Sam Herman, Oa Ika KaaA ta Maatalay and Snndlol. id Jacki« MiUn. JOHNNY HODGES’ COMBO (Meranry, 1/19/51!. NoIran Williame, trampeti Law- mee Brown, Irombonei Jehnny llodgee. E>n7 m BUDDY JOHNSON’S ORCHESTRA, (Der. Utoi Al Soars, Mner, Loo Lovett end Hilly S 7 (Turn tu Page 18) ------A R R A N G E R S------Pier the Record! See how they ere Voiced Voice for the 'Sound' you went!

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